Most Wanted
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Ishtar
(May, 1987)
The Seven-Per-Cent Solution (OOP)
(Ross, 1976)
The Devils
(Russell, 1974)
The Pirates of Penzance
(Papp/Leach, 1983)
The Fortune
(Nichols, 1975)
-30-
(Webb, 1959)
Betrayal
(Jones, 1983)
Play It As It Lays
(Perry, 1972)
The Outfit
(Flynn, 1973)
Alex in Wonderland
(Mazursky, 1969)
The Legend of Lylah Clare
(Aldrich, 1968)
In The Cool of the Day
(Stevens, 1963)
That Cold Day in the Park
(Altman, 1969)
Thumb Trippin'
(Masters, 1972)
Midas Run
(Kjellin, 1969)
At Long Last Love
(Bogdanovich, 1973)
Brewster McCloud
(Altman, 1972)
Outcast of the Islands
(Reed, 1951)

Reader Submissions

1930's-1950's
The Moon's Our Home
(Seiter, 1936)
Sh! The Octopus
(McGann, 1937)
The Mating Season
(Leisen, 1951)
Bad for Each Other
(Rapper, 1953)
The Phenix City Story
(Karlson, 1955)
Run of the Arrow
(Fuller, 1956)
House of Secrets
(Green, 1956)
Saint Joan
(Preminger, 1957)
Macabre
(Castle, 1958)
The Fiend Who Walked the West
(G. Douglas, 1958
Five Gates to Hell
(Clavell, 1959)
1960's
Key Witness
(Karlson, 1960)
Summer and Smoke
(Glenville, 1961)
The Chapman Report
(Cukor,1962)
Bachelor Flat
(Tashlin, 1962) [on Hulu]
The L Shaped Room
(Forbes, 1963)
The Chalk Garden
(Neame, 1964)
A Thousand Clowns
(Coe, 1965)
You're a Big Boy Now
(Coppola, 1966)
The Whisperers
(Forbes, 1967)
Dark of the Sun
(Cardiff, 1968)
Skidoo
(Preminger, 1968)
Last Summer
(Perry, 1969)
The Comic
(C. Reiner, 1969)
1970-1974
The Revolutionary
(Williams, 1970)
The Landlord
(Ashby, 1970)
Diary of a Mad Housewife
(Perry, 1970)
Tropic of Cancer
(Strick, 1970)
I Never Sang for My Father
(Cates, 1970)
Sometimes a Great Notion
(Newman, 1971)
Marriage of a Young Stockbroker
(Turman, 1971)
The Music Lovers
(Russell, 1971)
Drive, He Said
(Nicholson, 1971)
The Steagle
(Sylbert, 1971)
The Last Movie
(Hopper, 1971)
Made For Each Other
(Bean, 1971)
The Day the Clown Cried
(Lewis, 1972)
Hickey & Boggs (OOP)
(Culp, 1972)
The Carey Treatment
(Edwards, 1972)
Pete 'n' Tillie
(Ritt, 1972)
Slither
(Zieff, 1973)
Man on a Swing
(Perry, 1974)
Open Season
(Collinson, 1974)
The Tamarind Seed
(Edwards, 1974)
Law and Disorder
(Passer, 1974)
Homebodies
(Yust, 1974)
Stardust
(Apted, 1974)
Celine and Julie Go Boating
(Rivette, 1974)
1975-1979
Rafferty and the Gold Dust Twins
(Richards, 1975
At Long Last Love
(Bogdanovich, 1975)
Hearts of the West
(Zieff, 1975)
Welcome to L.A.
(Rudolph, 1976)
W.C. Fields and Me
(Hiller, 1976)
Citizens Band
(Demme, 1977)
Twilight's Last Gleaming
(Aldrich, 1977)
Looking for Mr. Goodbar
(Brooks, 1977)
Girlfriends
(Weill, 1978)
Movie Movie
(Donen, 1978)
The Medusa Touch
(Gold, 1978)
American Hot Wax
(Mutrux, 1978)
Hot Stuff
(DeLuise, 1979)
Scavenger Hunt
(Schultz , 1979)
Players
(Harvey, 1979)
Rich Kids
(Young, 1979)
Nightwing
(Hiller, 1979)
Screams of a Winter's Night
(Wilson, 1979
When You Comin' Back Red Ryder?
(Katselas, 1979
1980's
Resurrection
(Petrie, 1980)
The Awakening
(Newell, 1980)
Simon
(Brickman, 1980)
God's Angry Man
(Herzog, 1980)
Fast-Walking
(Harris, 1982)
Twice Upon a Time
(Korty & Swenson, 1983)
Trouble in Mind
(Rudolph, 1985)
When the Wind Blows
(Murikami, 1986)
Housekeeping
(Forsyth, 1987)
The Glass Menagerie
(Newman, 1987)
Patty Hearst
(Schrader, 1988)
Drowning by Numbers
(Greenaway, 1988)
Haunted Summer
(Passer, 1988)
The Decline of Western Civilization Part II: The Metal Years
(Spheeris, 1988)
1990's
Old Times
(Curtis, 1991)
Prospero's Books
(Greenaway, 1991)
City of Hope
(Sayles, 1991)
The Baby of Macon
(Greenaway, 1993)
King of the Hill
(Soderbergh, 1993)
Dadetown
(Hexter, 1995)
SubUrbia
(Linklater, 1997)

Push Me Off A Cliff

The week's least intriguing Avatar article comes from Vanity Fair's usually engaging Julian Sancton, who interviews the guy hired to crate the Na'vi language -- i.e., Paul Frommer, Professor of Clinical Management Communication at U.S.C.

Sanction: "How would you greet someone who called you on the phone in Na'vi, if there were such things as phones on Pandora?" Frommer: "I would say, 'Kaltxi. Ngaru lu fpom srak?' Which is kind of, 'Hello, how are you?'" The piece includes a sound file of Frommer saying this.

Posted by Jeffrey Wells on December 1, 2009 at 11:11 AM

comment #1

Rich S. Author Profile Page says ...

Big money in this type of thing. I think there are Bibles translated into Klingon and Elvish.

Posted by Rich S. Author Profile Page at December 1, 2009 11:33 AM

comment #2

lazarus Author Profile Page says ...

It's a nerdy job, but somebody's gotta do it.

Posted by lazarus Author Profile Page at December 1, 2009 11:53 AM

comment #3

Gordon27 Author Profile Page says ...

Is that true? I thought Klingon didn't have words for most of what Jesus said.

Posted by Gordon27 Author Profile Page at December 1, 2009 12:45 PM

comment #4

Rich S. Author Profile Page says ...

Gordon27, it may be (probably is) baloney, but this purports to be the Book of Mark, translated from Greek into Klingon:

http://www.tlg.uci.edu/~opoudjis/Klingon/mark.new.html

Posted by Rich S. Author Profile Page at December 1, 2009 12:54 PM

comment #5

Gogocrank Author Profile Page says ...

This is just the latest red flag piece/article/whatever that focuses on something other than the film itself, which as of yet it seems no one has seen. There have been articles on Cameron, his methods, his techniques, 3-D, the budget, the language, whatever. But the movie itself? Nada. Which is maybe how it should be when it comes to flicks like this. Acting, direction and script are last in the pecking order.

Posted by Gogocrank Author Profile Page at December 2, 2009 4:48 AM

comment #6

CitizenKanedforChewingGum Author Profile Page says ...

Last in the pecking order for whom, exactly? This is the media performing these pieces -- who seemed to be so all-consumed with the technology -- not Cameron himself, who always seems more than ready & willing (anxious, even) to talk about the story elements.

Posted by CitizenKanedforChewingGum Author Profile Page at December 2, 2009 7:27 AM

comment #7

Gogocrank Author Profile Page says ...

Meaning last in line are the qualities that actually make a film good or not. Lots of movies are preceded by stories about or reactions to certain actors or performances, or other Oscar worthy (for whatever that's worth) qualities. But in this film's case, it's been all about everything but. And it's not just the media doing the lazy media thing. Clearly this is how the film is being marketed. The first journo to get access to the movie itself will no doubt write the hell out of the experience, as many did after the tease preview. Once again, the fact that no one has seen the final product yet implies they are going down to the wire to get the thing done. Which is shaky ground to be on.

Posted by Gogocrank Author Profile Page at December 2, 2009 9:22 AM

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